Electronic musical instrument
An electronic musical instrument is a musical instrument that produces sound using electronics. Such an instrument sounds by outputting an electrical audio signal that ultimately drives a loudspeaker. An electronic instrument might include a user interface for controlling its sound, often by adjusting the pitch, frequency, or duration of each note. However, it is increasingly common to separate user interface and sound-generating functions into a music controller (input device) and a music synthesizer, respectively, with the two devices communicating through a musical performance description language such as MIDI or Open Sound Control. All electronic musical instruments can be viewed as a subset of audio signal processing applications. Simple electronic musical instruments are sometimes called sound effects; the border between sound effects and actual musical instruments is often hazy. Electronic musical instruments are now widely used in most styles of music. Development of new electronic musical instruments, controllers, and synthesizers continues to be a highly active and interdisciplinary field of research. Specialized conferences, notably the International Conference on New Interfaces for Musical Expression, have organized to report cutting-edge work, as well as to provide a showcase for artists who perform or create music with new electronic music instruments, controllers, and synthesizers. History of the barcaca Barcaca reed organ of the lost with atletico In Japan, a Yamaha engineer, Mr. Yamashita, invented the Yamaha Magna Organ, an electrostatic reed organ, in 1935. It was a multi-timbral keyboard instrument based on electrically blown free reeds with pickups. Integrated synthesizers In 1974, Roland Corporation released the EP-30, the first touch-sensitive electronic keyboard.[https://books.google.co.uk/books?id=6TVLAAAAYAAJ FutureMusic, issues 131-134], 2003, page 55 Polyphony Many early analog synthesizers were monophonic, producing only one tone at a time. Polyphony (multiple simultaneous tones, which enables chords) was only obtainable with electronic organ designs at first. An early polyphonic synthesizer was the Yamaha GX-1, manufactured in 1973, which featured eight voices.Yamaha GX-1, Vintage Synth Explorer By 1976, affordable polyphonic synthesizers began to appear. The Yamaha CS80, released in 1976, was a portable polyphonic synthesizer that became popular. Roland Corporation released early polyphonic string synthesizers, the RS-101 in 1975 and the RS-202 in 1976. A TALE OF TWO STRING SYNTHS, Sound on Sound, July 2002 Other notable polyphonic synthesizers at the time included the Yamaha CS-50 and CS-60. Sound sequencers In 1977, Roland Corporation released the MC-8 Microcomposer, an early stand-alone, microprocessor-based, digital CV/Gate sequencer, and an early polyphonic sequencer.Paul Théberge (1997), [https://books.google.co.uk/books?id=asBnYmKKz6kC&pg=PA223 Any Sound You Can Imagine: Making Music/Consuming Technology, page 223], Wesleyan University PressHerbert A. Deutsch (1985), [https://books.google.co.uk/books?id=tjEJAQAAMAAJ Synthesis: an introduction to the history, theory & practice of electronic music], page 96, Alfred Music It equipped a keypad to enter notes as numeric codes, 16 KB of RAM for a maximum of 5200 notes (large for the time), and a polyphony function which allocated multiple pitch CVs to a single Gate. It was capable of eight-channel polyphony, allowing the creation of polyrhythmic sequences.Chris Carter, ROLAND MC8 MICROCOMPOSER, Sound on Sound, Vol.12, No.5, March 1997 The MC-8 had a significant impact on popular electronic music, with the MC-8 and its descendants (such as the Roland MC-4 Microcomposer) impacting popular electronic music production in the 1970s and 1980s more than any other family of sequencers. Bass synthesizers Following the availability of programmable music sequencers such as the Roland MC-8 Microcomposer in the late 1970s, bass synths began incorporating sequencers in the early 1980s. The first bass synthesizer with a sequencer was the Firstman SQ-01. ("Keyboard Report, Oct. '81", according to the ) It was originally released in 1980 by Hillwood/Firstman, a Japanese synthesizer company founded in 1972 by Kazuo Morioka (who later worked for Akai in the early 1980s), and was then released by Multivox for North America in 1981. Mark Jenkins (2009), [https://books.google.co.uk/books?id=iI77AwAAQBAJ&pg=PA107 Analog Synthesizers, pages 107-108], CRC PressA TALE OF TWO STRING SYNTHS, Sound on Sound, July 2002 A particularly influential bass synthesizer was the Roland TB-303. Released in late 1981, it featured a built-in sequencer and later became strongly associated with acid house music. Bass synthesizers began being used to create highly syncopated rhythms and complex, rapid basslines. Bass synth patches incorporate a range of sounds and tones, including wavetable-style, analog, and FM-style bass sounds, delay effects, distortion effects, envelope filters. In popular music, these techniques gained wide popularity with the emergence of acid house music, after Phuture's use of the TB-303 for the single "Acid Tracks" in 1987, though such techniques were predated by Charanjit Singh's use of the TB-303 in 1982. Electronic percussion Electronic drums At NAMM 1964, Japanese company Ace Tone revealed the R-1 Rhythm Ace, the first fully transistorized electronic drum instrument. Created by Ikutaro Kakehashi, who later founded Roland Corporation, the R-1 was a hand-operated percussion device that played electronic drum sounds manually as the user pushed buttons, in a similar fashion to modern electronic drum pads. Matt Dean (2011), [https://books.google.co.uk/books?id=9RmN7w8kVpAC&pg=PA390 The Drum: A History, page 390], Scarecrow Presshttp://www.factmag.com/2016/09/22/the-14-drum-machines-that-shaped-modern-music/ Drum machines In 1963, Korg released the Donca-Matic DA-20, an electro-mechanical drum machine. In 1965, Nippon Columbia patented a fully electronic drum machine. Korg released the Donca-Matic DC-11 electronic drum machine in 1966, which they followed with the Korg Mini Pops, which was developed as an option for the Yamaha Electone electric organ. Korg's Stageman and Mini Pops series were notable for "natural metallic percussion" sounds and incorporating controls for drum "breaks and fill-ins."Russell Hartenberger (2016), [https://books.google.co.uk/books?id=G2WSCwAAQBAJ&pg=PA84 The Cambridge Companion to Percussion, page 84], Cambridge University Press In 1967, Ace Tone founder Ikutaro Kakehashi patented a preset rhythm-pattern generator using diode matrix circuit, which he released as the FR-1 Rhythm Ace drum machine the same year. It offered 16 preset patterns, and four buttons to manually play each instrument sound (cymbal, claves, cowbell and bass drum). The rhythm patterns could also be cascaded together by pushing multiple rhythm buttons simultaneously, and the possible combination of rhythm patterns were more than a hundred. Ace Tone's Rhythm Ace drum machines found their way into popular music from the late 1960s, followed by Korg drum machines in the 1970s. Kakehashi later left Ace Tone and founded Roland Corporation in 1972, with Roland synthesizers and drum machines becoming highly influential for the next several decades. In 1978, Roland released the Roland CR-78, the first microprocessor-based programmable rhythm machine,Russell Hartenberger (2016), [https://books.google.co.uk/books?id=G2WSCwAAQBAJ&pg=PA85 The Cambridge Companion to Percussion, page 85], Cambridge University Press with four memory banks to store user patterns,http://www.factmag.com/2016/09/22/the-14-drum-machines-that-shaped-modern-music/ and controls for accents and muting. Its combination of programmability and familiar preset rhythms made it popular from the late 1970s to the early 1980s.http://www.vintagesynth.com/roland/cr78.php The Roland TR-808, launched in 1980, featured unique artificial percussion sounds, such as “the hum kick, the ticky snare, the tishy hi-hats (open and closed) and the spacey cowbell.” It is particularly noted for its powerful bass drum sound, built from a combination of a bridged T-network sine oscillator, a low-pass filter, and a voltage-controlled amplifier. The bass drum decay control allows the user to lengthen the sound, creating uniquely low frequencies which flatten slightly over long periods. It was the first drum machine with the ability to program an entire percussion track of a song from beginning to end, complete with breaks and rolls.Contemporary Keyboard, Volume 7, Issues 1-6, 1981: "The Roland TR-808 will undoubtedly become the standard for rhythm machines of the future because it does what no rhythm machine of the past has ever done. Not only does the TR-808 allow programming of individual rhythm patterns, it can also program the entire percussion track of a song from beginning to end, complete with breaks, rolls, literally anything you can think of." The machine includes volume knobs for each voice, multiple audio outputs, and a DIN sync port (a precursor to MIDI) to synchronize with other devices via the Digital Control Bus interface, considered groundbreaking at the time. The digital era (1980–2000) Digital synthesis Digital synthesis began as academic experiments in sound synthesis using digital computers. FM synthesis (frequency modulation synthesis) was developed for this purpose; as a way of generating complex sounds digitally with the smallest number of computational operations per sound sample. In 1983 Yamaha introduced the first stand-alone digital synthesizer, the DX-7. It used FM synthesis, originating from the work of John Chowning at Stanford University in the late 1960s.Chowning, 1973 Chowning exclusively licensed his FM synthesis patent to Yamaha, in 1973. | title = 2 FM Tone Generators and the Dawn of Home Music Production | url = http://usa.yamaha.com/products/music-production/synthesizers/synth_40th/history/chapter02/ | work = Yamaha Synth 40th Anniversary - History | year = 2014 | publisher = Yamaha Corporation}} Yamaha's engineers began adapting Chowning's algorithm for use in a commercial digital synthesizer, adding various improvements and modifications. [http://www.google.com/patents/about?id=GNEzAAAAEBAJ&dq= U.S. Patent 4,018,121] Yamaha built the first prototype digital synthesizer in 1974, before commercializing FM synthesis in 1980 with the GS-1 and GS-2 digital synthesizers, which were costly and heavy. There followed a pair of smaller, preset versions, the CE20 and CE25 Combo Ensembles, targeted primarily at the home organ market and featuring four-octave keyboards. Yamaha's third generation of digital synthesizers was a commercial success; it consisted of the DX7 and DX9 (1983). Both models were compact, reasonably priced, and dependent on custom digital integrated circuits to produce FM tonalities. The DX7 was the first mass market all-digital synthesizer. It became indispensable to many music artists of the 1980s, and demand soon exceeded supply. The DX7 sold over 200,000 units within three years. The DX series was not easy to program but offered a detailed, percussive sound that led to the demise of the electro-mechanical Rhodes piano. Following the success of FM synthesis Yamaha signed a contract with Stanford University in 1989 to develop digital waveguide synthesis, leading to the first commercial physical modeling synthesizer, Yamaha's VL-1, in 1994. Sample-based synthesis The Fairlight CMI (Computer Musical Instrument), the first polyphonic digital sample-based synthesizer, was a harbinger of sample-based synthesis. Designed in 1978 by Peter Vogel and Kim Ryrie and based on a dual microprocessor computer designed by Tony Furse in Sydney, Australia, the Fairlight CMI gave musicians the ability to modify volume, attack, decay, and use special effects like vibrato. Sample waveforms could be displayed on-screen and modified using a light pen. The Synclavier from New England Digital was a similar system. Jon Appleton (with Jones and Alonso) developed the Dartmouth Digital Synthesizer, later to become the New England Digital Corp's Synclavier. The Kurzweil K250, first produced in 1983, was also a successful polyphonic digital music synthesizer, noted for its ability to reproduce several instruments synchronously and having a velocity-sensitive keyboard. These early sampling synthesizers used sampled-based wavetable synthesis.Martin Russ, [https://books.google.co.uk/books?id=X9h5AgAAQBAJ&pg=PA29 Sound Synthesis and Sampling, page 29], CRC Press Sampling Since the 1980s, samplers have been using pulse-code modulation (PCM) for digital sampling. The first PCM digital sampler was Toshiba's LMD-649,Rockin'f, March 1982, pages 140-141 created in 1981 by engineer Kenji Murata for Japanese electronic music band Yellow Magic Orchestra, who used it for extensive sampling and looping in their 1981 album Technodelic.A Beginner’s Guide To YELLOW MAGIC ORCHESTRA, The Electricity Club The LMD-649 played and recorded PCM samples at 12-bit audio depth and 50 kHz sampling rate, stored in 128 KB of dynamic RAM. The LMD-649 was also used by other Japanese synthpop artists in the early 1980s, including Chiemi ManabeChiemi Manabe – 不思議・少女, Discogs and Logic System.Logic System – Orient Express, Discogs Akai pioneered many processing techniques, such as crossfade looping and "time stretch" to shorten or lengthen samples without affecting pitch and vice versa. The Akai MPC60, released in 1988, went on to become the most influential sampler in hip hop music.https://www.engadget.com/2017/01/22/akai-mpc-live-mpc-x/ Computer music An important new development was the advent of computers for the purpose of composing music, as opposed to manipulating or creating sounds. Iannis Xenakis began what is called musique stochastique, or stochastic music, which is a method of composing that employs mathematical probability systems. Different probability algorithms were used to create a piece under a set of parameters. Xenakis used graph paper and a ruler to aid in calculating the velocity trajectories of glissandi for his orchestral composition Metastasis (1953–54), but later turned to the use of computers to compose pieces like ST/4 for string quartet and ST/48 for orchestra (both 1962). The impact of computers continued in 1956. Lejaren Hiller and Leonard Issacson composed Illiac Suite for string quartet, the first complete work of computer-assisted composition using algorithmic composition.Schwartz (1975), 347. In 1957, Max Mathews at Bell Lab wrote MUSIC-N series, a first computer program family for generating digital audio waveforms through direct synthesis. Then Barry Vercoe wrote MUSIC 11 based on MUSIC IV-BF, a next-generation music synthesis program (later evolving into csound, which is still widely used). In Japan, experiments in computer music date back to 1962, when Keio University professor Sekine and Toshiba engineer Hayashi experimented with the TOSBAC computer. This resulted in a piece entitled TOSBAC Suite. Japanese personal computers such as the Sharp MZ and Hitachi Basic Master were capable of digital synthesis in 1978, via Music Macro Language (MML),Micro Computer BASIC MASTER MB-6880 Music method - |first1= |last2= |first2= |last3= |first3= |last4= |first4= |date=1979-04-26|website=digital.hitachihyoron|publisher= HITACHI |accessdate=26 August 2013}} used to produce chiptune video game music. The Yamaha GS-1, the first FM digital synthesizer, was programmed using a proprietary Yamaha computer, which at the time was only available at Yamaha's headquarters in Japan (Hamamatsu) and the United States (Buena Park).Nicolae Sfetc, [https://books.google.co.uk/books?id=kXyFAwAAQBAJ&pg=PT1525 The Music Sound, page 1525] It was not until the advent of MIDI in 1983 that general-purpose computers started to play a key role in mainstream music production. Following the widespread adoption of MIDI, computer-based MIDI software was developed. MIDI was introduced to computers with the NEC PC-88 and PC-98 in 1982, and FM synthesis was introduced to personal computers with the MSX-compatible Yamaha CX5M in 1983.Martin Russ, [https://books.google.co.uk/books?id=X9h5AgAAQBAJ&pg=PA85 Sound Synthesis and Sampling, page 85], CRC Press In the mid-1980s, Miller Puckette at IRCAM developed graphic signal-processing software for 4X called Max (after Max Mathews), and later ported it to Macintosh (with Dave Zicarelli extending it for Opcode Max at Opcode) for real-time MIDI control, bringing algorithmic composition availability to most composers with modest computer programming background. MIDI , a LAN for music, enables connections between digital musical instruments]] In 1980, Roland introduced the Digital Control Bus (DCB) communications protocol, using the DIN sync interface to synchronize different electronic music equipment. It was introduced with the Roland TR-808 in 1980, followed by other Roland equipment in 1981. It was the precursor to MIDI, which adopted most of its features from the DCB protocol, including the same type of connectors as the DIN sync interface. In 1980, a group of musicians and music merchants met to standardize an interface by which new instruments could communicate control instructions with other instruments and the prevalent microcomputer. It was conceived by Roland founder Ikutaro Kakehashi, who proposed the idea of standardization to Oberheim Electronics founder Tom Oberheim, who then discussed it with Sequential Circuits president Dave Smith. In October 1981, Kakehashi, Oberheim and Smith discussed the idea with representatives from Yamaha, Korg and Kawai. They then discussed how to develop a common standard, working with Roland's pre-existing DCB as a basis. A paper was authored by Smith and proposed to the Audio Engineering Society in 1981. The standard was then discussed and modified by representatives of Roland, Yamaha, Korg, Kawai, and Sequential Circuits. This standard was dubbed MIDI (Musical Instrument Digital Interface). Then, in August 1983, the MIDI Specification 1.0 was finalized. The advent of MIDI technology allows a single keystroke, control wheel motion, pedal movement, or command from a microcomputer to activate every device in the studio remotely and in synchrony, with each device responding according to conditions predetermined by the composer. MIDI instruments and software made powerful control of sophisticated instruments easily affordable by many studios and individuals. Acoustic sounds became reintegrated into studios via sampling and sampled-ROM-based instruments. It also allowed general-purpose computers to start playing a role in music production. Following the widespread adoption of MIDI, computer-based MIDI software was developed. Since its introduction, MIDI has remained the musical instrument industry standard interface through to the present day.The life and times of Ikutaro Kakehashi, the Roland pioneer modern music owes everything to, Fact Chip music Chiptune, chipmusic, or chip music is music written in sound formats where many of the sound textures are synthesized or sequenced in real time by a computer or video game console sound chip, sometimes including sample-based synthesis and low bit sample playback. Many chip music devices featured synthesizers in tandem with low rate sample playback. DIY culture During the late 1970s and early 1980s, DIY (Do it yourself) designs were published in hobby electronics magazines (notably the Formant modular synth, a DIY clone of the Moog system, published by Elektor) and kits were supplied by companies such as Paia in the US, and Maplin Electronics in the UK. Circuit bending In 1966–67, Reed Ghazala discovered and began to teach "circuit bending"—the application of the creative short circuit, a process of chance short-circuiting, creating experimental electronic instruments, exploring sonic elements mainly of timbre and with less regard to pitch or rhythm, and influenced by John Cage’s aleatoric music concept. Much of this manipulation of circuits directly, especially to the point of destruction, was pioneered by Louis and Bebe Barron in the early 1950s, such as their work with John Cage on the Williams Mix and especially in the soundtrack to Forbidden Planet. Modern circuit bending is the creative customization of the circuits within electronic devices such as low voltage, battery-powered guitar effects, children's toys and small digital synthesizers to create new musical or visual instruments and sound generators. Emphasizing spontaneity and randomness, the techniques of circuit bending have been commonly associated with noise music, though many more conventional contemporary musicians and musical groups have been known to experiment with "bent" instruments. Circuit bending usually involves dismantling the machine and adding components such as switches and potentiometers that alter the circuit. With the revived interest for analogue synthesizer circuit bending became a cheap solution for many experimental musicians to create their own individual analogue sound generators. Nowadays many schematics can be found to build noise generators such as the Atari Punk Console or the Dub Siren as well as simple modifications for children toys such as the famous Speak & Spells that are often modified by circuit benders. Modular synthesizers The modular synthesizer is a type of synthesizer consisting of separate interchangeable modules. These are also available as kits for hobbyist DIY constructors. Many hobbyist designers also make available bare PCB boards and front panels for sale to other hobbyists. Future electronic musical instruments According to a forum post in December 2010, Sixense Entertainment is working on musical control with the Sixense TrueMotion motion controller. Immersive virtual musical instruments, or immersive virtual instruments for music and sound aim to represent musical events and sound parameters in a virtual reality so that they can be perceived not only through auditory feedback but also visually in 3D and possibly through tactile as well as haptic feedback, allowing the development of novel interaction metaphors beyond manipulation such as prehension. See also * Electronic music * Experimental musical instrument * Live electronic music * Visual Music ;Organizations * STEIM ;Technologies * Oscilloscope * Stereophonic sound ;Individual techniques * Chiptune * Circuit bending ;Instrument families * Drum machine * Electronic drum * Groovebox * Music sequencer * Sampler (musical instrument) * Synthesizer ** Analog synthesizer ** Digital synthesizer * Vocoder ;Individual instruments (historical) * Electronic Sackbut * Continuum Fingerboard * Spharophon ;Individual instruments (modern) * Atari Punk Console * Kraakdoos * Metronome * Razer Hydra ;Electronic instruments in Asian traditional music * Electronic tanpura * Shruti box References External links * 120 Years of Electronic Music * A chronology of computer and electronic music (including instruments) * History of Electronic Music (French) * Tons of Tones !! : Site with technical data on Electronic Modelling of Musical Tones DIY * DIY Hardware and Software Discussion forum at Electro-music.com * The Synth-DIY email list * Ken Stone's Do-It-Yourself Page * Music From Outer Space Information and parts to self-build a synthesizer. * SDIY wiki a wiki about DIY electronic musical instruments Category:Electronic musical instruments